Published by Trilce Ediciones. Introduction by Stephen Heller. Text by Carole Goodman, Claudio Sotolongo.
Soy Cuba presents a selection of the finest film posters produced in Cuba from the 1950s until the early 1970s. Famous around the world for their brash originality and bright, clear graphic sensibility, Cuban cinema posters of the Revolutionary era are held in as high esteem as the moodier and more abstract Polish film posters of the same era. Susan Sontag devoted a good part of her noted 1970 essay, “Posters: Advertisement, Art, Political Artifact, Commodity” to the particularly satisfying paradox they present. “The Cubans make posters to advertise culture in a society that seeks not to treat culture as an ensemble of commodities-events and objects designed, whether consciously or not, for commercial exploitation. Then the very project of cultural advertising becomes somewhat paradoxical, if not gratuitous. And indeed, many of these posters do not really fill any practical need. A beautiful poster made for the showing in Havana of, say, a minor movie by Alain Jessura, every performance of which will be sold out anyway (because movies are one of the few entertainments available) is a luxury item, something done in the end for its own sake. More often than not, a poster for ICAIC [Cuban Institute of Cinematographic Arts] by Tony Reboiro or Eduardo Bachs amounts to the creation of a new work of art, supplementary to the film, rather than to a cultural advertisement in the familiar sense.” Collected by designer Carole Goodman in collaboration with the ICAC and other Cuban specialists, this substantial compendium is a visual and intellectual treat.
PUBLISHER Trilce Ediciones
BOOK FORMAT Paperback, 9.5 x 13.5 in. / 320 pgs / 272 color.
PUBLISHING STATUS Pub Date 10/31/2011 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2012 p. 32
PRODUCT DETAILS ISBN 9786077663188TRADE List Price: $32.00 CDN $40.00
Published by Metropolis Books. Edited by Edward Morris, Dmitri Siegel. Text by Michael Bierut, Thomas L. Friedman, Steven Heller, Edward Morris, Dmitri Siegel, Morgan Clendaniel.
This book brings together the strongest contemporary graphic design currently promoting sustainability and the fight against climate change. Collectively, essays by Michael Bierut, Steven Heller, Edward Morris and Dmitri Siegel look back in time to posters and ideas that set the stage for the current movement (World War Two posters, images of international cooperation, posters from the environmental movement in the 1960s and 1970s) and address the state of the poster: what is the efficacy and mode of distribution for purposeful, message-oriented graphic images today? Thomas L. Friedman advocates for "a redefined, broader and more muscular green ideology that can be the basis of a new unifying political movement for the twenty-first century." The bulk of the book is given over to a compilation of the best posters on the theme of sustainability by a variety of contemporary artists (both emerging and established), among them Shepard Fairey, Michael Bierut, DJ Spooky, James Victore and Geoff McFetridge. These posters, which have a strong graphic presence and which never rest on the tired slogans of the past ("Save the Earth," etc.), show that graphic design does not passively respond to the zeitgeist--it helps shape it. The book, which is sustainably printed in the U.S., reproduces 50 of these posters as tear-outs. Also included is a section on action, with documentation of designs at work in the world: on buses, billboards, protesters' placards, graffiti, t-shirts and so on. This movement is about a new form of patriotism, one that exhibits pride of place, but not fear of others.
Published by Four Corners Books. Text by Julie Ault, Daniel Berrigan.
At 18, Corita Kent (1918-86) entered the Roman Catholic order of Sisters of the Immaculate Heart of Mary in Los Angeles, where she taught art and eventually ran the art department. After more than 30 years, at the end of the 1960s, she left the order to devote herself to making her own work. Over a 35-year career she made watercolors, posters, books and banners--and most of all, serigraphs--in an accessible and dynamic style that appropriated techniques from advertising, consumerism and graffiti. The earliest, which she began showing in 1951, borrowed phrases and depicted images from the Bible; by the 1960s, she was using song lyrics and publicity slogans as raw material. Eschewing convention, she produced cheap, readily available multiples, including a postage stamp. Her work was popular but largely neglected by the art establishment--though it was always embraced by such design luminaries as Charles and Ray Eames, Buckminster Fuller and Saul Bass. More recently, she has been increasingly recognized as one of the most innovative and unusual Pop artists of the 1960s, battling the political and religious establishments, revolutionizing graphic design and making some of the most striking--and joyful--American art of her era, all while living and practicing as a Catholic nun. This first study of her work, organized by Julie Ault on the 20th anniversary of Kent's death, with essays by Ault and Daniel Berrigan, is the first to examine this important American outsider artist's life and career, and contains more than 90 illustrations, many of which are reproduced for the first time, in vibrant, and occasionally Day-Glo, color.
BOOK FORMAT Paperback, 9.75 x 11.25 in. / 128 pgs / 100 color / 5 bw.
PUBLISHING STATUS Pub Date 3/1/2007 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2007 p. 62
PRODUCT DETAILS ISBN 9780954502522TRADE List Price: $29.95 CDN $39.95
AVAILABILITY In stock
in stock $29.95
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Four Corners Books. Edited by Johan Kugelberg, Philippe Vermčs.
In May 1968, thousands of workers and students took to the streets of Paris, provoking an unprecedented wave of strikes, walkouts and demonstrations. The confrontations between police and protesters led to a general strike of eleven million workers that brought the country to a virtual standstill and nearly toppled Charles de Gaulle's government. The faculty and student body of the Ecole des Beaux Arts were among the strikers, and a number of the students met spontaneously in the college's lithographic department to produce the first poster of the revolt, which bore the declaration “Usines, Universités, Union” (“Factories and universities unite,” loosely translated). From this initiative was born the Atelier Populaire (or “popular workshop” ), a collective of print shops that produced hundreds of posters to encourage the protestors and to report on police brutality. These posters included many of the often Situationist-inspired mottos for which May '68 is remembered today, such as “Be young and shut up” and “return to normal” (accompanied by a picture of a herd of sheep). Beauty Is in the Street reproduces more than 200 of these posters in full color, which have since become landmarks in political art and graphic design. Also included is a thumbnail index of an additional 411 posters; a wealth of archival documentary photographs and new translations of firsthand accounts of the clashes between the students and strikers and the police, many published in English for the first time; and an introduction by Philippe Vermčs, one of the founders of the Atelier Populaire.
BOOK FORMAT Hardcover, 9 x 11 in. / 272 pgs / 200 color / 100 bw.
PUBLISHING STATUS Pub Date 8/31/2011 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2011 p. 175
PRODUCT DETAILS ISBN 9780956192837TRADE List Price: $40.00 CDN $54.00
AVAILABILITY In stock
in stock $40.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Silvana Editoriale. Edited by Dario Cimorelli, Anna Villari.
In the late nineteenth century up until very recently, for the middle classes, the famous and the wealthy alike, an extended tour of Italy was a necessary part of a cultural education. Italy's cuisine, its landscapes, its countless art capitals, archeological ruins and its tradition of hospitality made the country a favored destination for an exclusive class of tourist. To alert this lucrative market--as well as Italians themselves--to the many attractions of the Beautiful Country, the message was laid on with graphic radiance in the print culture of the times, through posters, flyers, brochures and picture magazines. Graphic design for tourism advertising was often commissioned from the leading illustrators of the period, from Duilio Cambellotti to Leonetto Cappiello, from Marcello Dudovich to Franz Lenhart, from Gino Boccasile to Mario Puppo. This volume draws on the collection of Achille Bertarelli to tell the story of Italian tourism's rich graphic design heritage in 250 color reproductions.
BOOK FORMAT Clth, 10 x 12 in. / 288 pgs / 250 color.
PUBLISHING STATUS Pub Date 10/31/2011 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2011 p. 122
PRODUCT DETAILS ISBN 9788836619221TRADE List Price: $75.00 CDN $99.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Bongout. Introduction by Thibaut de Ruyter.
Against today's copyrighted-to-the-gills Hollywood movie industry, the wacky world of Ghanian movie posters comes as a joyous relief, with its absolute lack of respect for not only the directors and even stars of Hollywood, but especially the official iconography that accompanies such films. With the arrival of the video cassette in West Africa in the 1980s, a type of mobile movie house was born, typically consisting of a TV, a VCR, an electrical generator and a car, sometimes presenting blockbusters, sometimes underrated and nearly-forgotten movies, most of them Hollywood-produced. To promote these screenings, artists were commissioned to handpaint posters, often with only a few stills to guide them as to the movie's subject, and with a completely free hand as to the posters' content--they were at liberty to add or change scenes, toss in a few mutant monsters, anything to catch the prospective customer's eye. By applying this basic rule of packaging, artists created bizarre images in which monsters mixed with naked women and superheroes, pitched against naively painted and weirdly proportioned African landscapes. Sadly, this window of copyright-free anarchy lasted only a short time, and by the end of the 1990s the mobile cinema business had declined as television became more widely available in Ghana. Proof that naked mutant superhero monsters are always where it's at, this wonderfully illustrated volume commemorates a glorious moment in popular art.
BOOK FORMAT Hardcover, 6.75 x 9.25 in. / 68 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 8/31/2009 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2009 p. 46
PRODUCT DETAILS ISBN 9783940907059TRADE List Price: $25.00 CDN $30.00
Published by Open Editions. Edited by David Blamey. Essays by Rosie Thomas, Patricia Uberoi, Sara Dickey, Emily King, M.S.S. Pandian and Christopher Pinney.
This charming book of Indian film posters offers the uninitiated a window into the sub-continent's famously over-the-top movie industry, and for those who know it well, there is a wide selection of classic and little-known material. Posters from smaller production outposts in Tamil Nadu and Kerela appear alongside their more glamorous Bombay cousins, and contemporary work alongside archetypal images from what's thought of as Bollywood's golden age. Street photographs show the art in situ, while essays addressing it from anthropological, sociological and design perspectives put it in broader context as a visually charismatic key to the politics, history and beliefs of India.
PUBLISHER Open Editions
BOOK FORMAT Paperback, 8.5 x 9.5 in. / 260 pgs / 153 color and 8 bw.
PUBLISHING STATUS Pub Date 8/15/2006 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2006 p. 47
PRODUCT DETAILS ISBN 9780949004154TRADE List Price: $35.00 CDN $40.00
Published by Gregory R. Miller & Co./Aspen Art Press. Text by Malik Gaines, Ernest Hardy, Philippe Vergne, Heidi Zuckerman Jacobson.
This book gathers for the first time an extensive selection of American artist—or “builder and demolisher,” as he describes himself—Mark Bradford's gorgeous, searing and heavily textured “merchant posters.” The original printed posters, collected by Bradford from around his Central Los Angeles neighborhood, are brightly colored local advertisements that target the area's vulnerable lower-income residents. For Bradford, they serve as both the formal and conceptual underpinnings of his works on paper, décollages/collages that engage with the pressures of the cityscape. “The sheer density of advertising creates a psychic mass, an overlay that can sometimes be very tense or aggressive,” he notes; “If there's a 20-foot wall with one advertisement for a movie about war, then you have the repetition of the same image over and over—war, violence, explosions, things being blown apart. As a citizen, you have to participate in that every day. You have to walk by until it's changed.” Eagerly anticipated, this is the first large-scale publication by a major publisher about the work of this important and increasingly influential artist. Artist and writer Malik Gaines considers Bradford's play with signs in relation to literary and performative theories of African-American forms; writer and cultural critic Ernest Hardy addresses social issues, in Los Angeles and more broadly, raised by Bradford's source material; Heidi Zuckerman Jacobson examines the language in the work as it relates to Concrete poetry; and Dia Art Foundation Director Philippe Vergne looks at the surface of the work and Bradford's processes of mining and excavation.
Published by Moderne Kunst Nürnberg. Edited by Peter Noever. Text by Kathrin Pokorny-Nagel, Michael Diers, Sebastian Hackenschmidt.
The designer Mihály Biró (1886-1948) was the graphic voice of Soviet communism in Hungary. He joined the Social Democratic cause early in life, and between 1910 and 1920 designed some of the most widely admired posters and illustrations of the era, for the SZDP (Hungarian Social Democratic Party) and then the Hungarian Soviet Republic. The advent of Miklós Horthy's fascist regime soon forced him to flee to Vienna, where he created The Horthy Portfolio (1920), a set of color lithographs that documented the atrocities of the Horthy regime. Alongside such political works, Biró also created posters for individual businesses and the booming Austrian film industry. He was soon forced to leave Austria, and relocated to Czechoslovakia, then to Paris, returning to Budapest one year before his death in 1948. This revelatory monograph surveys Biró's political posters, as well as commercial work, postcards, photographs and lithographs.
Published by The Museum of Modern Art, New York. Text by Judith B. Hecker.
Encompassing black-and-white linoleum cuts made at community art centers in the 1960s and 1970s, resistance posters and other political art of the 1980s and the wide variety of subjects and techniques explored by artists in printshops over the last two decades, printmaking has been a driving force in contemporary South African artistic and political expression. Impressions from South Africa, 1965 to Now, published to accompany an exhibition at The Museum of Modern Art, introduces the vital role of printmaking through works by more than 20 artists in the Museum's collection. The volume features prints by John Muafangejo and Dan Rakgoathe, whose vigorous, metaphoric linoleum cuts conveying social messages were cultivated at Rorke's Drift Art and Craft Centre in the 1960s and 1970s, posters produced for anti-apartheid coalitions in the 1980s, and political work by Sue Williamson, Norman Catherine and William Kentridge, representing periods of apartheid resistance. More recent projects, including traditional etchings by Diane Victor, comic books by Bitterkomix, lithographs by Joachim Schönfeldt and Claudette Schreuders and digital prints by Cameron Platter, address ongoing social issues and explore new subjects. New linoleum cut projects by a younger generation of artists--Paul Edmunds, Senzeni Marasela and Vuyile Voyiya--demonstrate the relevance of the medium in South Africa today. Judith B. Hesker, Assistant Curator of Prints and Illustrated Books at MoMA, contributes an introduction, biographies of the artists, publishers and printers, and a timeline of relevant events in South Africa.